A couple months ago, I received a press release from the North Dakota museum of art about a well-known artist named James Rosenquist, who would be coming to the museum for his 80th birthday celebration. I hadn’t heard of Rosenquist, but I decided to pitch the idea to my editor. Before I could even get my pitch typed and printed for our brainstorm meeting, she said I’d be covering the Rosenquist event. But, she wasn’t talking about the birthday celebration in October. She was talking about the opening reception for his exhibition that coming week. So, I jumped on the story and contacted Laurel Reuter, director of the museum, to set up an interview about Rosenquist.
I went to the museum the next morning and watched Rosenquist’s installers hang the painting, “Through the Eye of the Needle to the Anvil” which is 17 by 46 feet. As I took it all in, Laurel explained to me that the piece was an homage to his mother. She said the high heels on the left of the painting represent his mom and the painting was about ideas starting small and growing into paintings, novels, inventions… From my interview with Laurel, I found out that she personally knew Rosenquist and his curator Judith Goldman. She said Rosenquist was North Dakota’s most well-known painter. And that he learned to paint large scale when he was a bill board painter.
I later contacted Judith and she told me more about his artwork and his painting. I researched Rosenquist and read excerpts from his biographies and slowly began to realize how much of an impact this man had on the art world. I wrote my first article and received great feedback from the community.
A month or so went by and I prepared myself for another Rosenquist story. This time I would interview the artist himself over the phone from his home in New York. Nervous to interview such a remarkable artist, I had done a ton of research and prepared well-thought out questions for a Q & A, but I quickly learned that I wouldn’t be doing a Q & A. Rosenquist answered my first question and then said he’d prefer to just talk and tell me what he wanted to, so I let him talk.
He told me about his connection to North Dakota and how living on the plains made him see things differently. He spent much of his childhood in Mekinock, N.D., before moving to the cities and eventually New York. Although he lived in the large cities most of his life, he said the open plains had a great impact in his art and his creativity. He told me a story about sitting on his front porch as a boy and seeing a four story horse walk by. He said he later learned it was his neighbors white stallion which had gotten loose. He was seeing an optical illusion from the heat.
After talking to Rosenquist, I wrote up another story and waited about a week. Then, it was time for Rosenquist, his wife Mimi and Goldman to come to New York for his 80th birthday celebration at the museum. I rushed back from my Godson’s baptism in the Twin Cities, so I could make it to the celebration in time and finally meet the artist himself. It was remarkable to see him standing there with old friends and distant relatives admiring his work, which took up the entire east gallery in the museum.
I didn’t get much time to talk to Rosenquist but I was able to talk to his son and a good friend if his who is also a painter. We talked about his artwork and their lives in New York and I couldn’t help dream of moving to a big city filled with art.
When I first received that press release, I honestly had no idea who Rosenquist was. Now, I know he is a remarkable artist who has greatly impacted the art world with his amazing, intricate, large scale collage pieces.